Nor again is there anyone who loves or pursues or desires to obtain pain of itself, because it is pain, but because occasionally circumstances occur in which toil and pain can procure him some great pleasure. To take a trivial example, which of us ever undertakes laborious physical exercise, except to obtain some advantage from it?

But who has any right to find fault with a man who chooses to enjoy a pleasure that has no annoying consequences, or one who avoids a pain that produces no resultant pleasure?
On the other hand, we denounce with righteous indignation and dislike men who are so beguiled and demoralized by the charms of pleasure of the moment, so blinded by desire, that they cannot foresee the pain and trouble that are bound to ensue; and equal blame belongs to those who fail in their duty through weakness of will, which is the same as saying through shrinking from toil and pain.

These cases are perfectly simple and easy to distinguish. In a free hour, when our power of choice is untrammelled and when nothing prevents our being able to do what we like best, every pleasure is to be welcomed and every pain avoided. But in certain circumstances and owing to the claims of duty or the obligations of business it will frequently occur that pleasures have to be repudiated and annoyances accepted. The wise man therefore always holds in these matters to this principle of selection: he rejects pleasures to secure other greater pleasures, or else he endures pains to avoid worse pains.

It was so cold that I wouldn’t even reach for my camera. I snapped more pictures with my phone than I did with my Canon. We stayed outside the city and ventured out to explore, but all those trips were cut short. Being inside and warm was just so much more appealing.

We mostly just ate. I dragged Lee and our friends across the city and back to get Ethiopian, Mexican, Taiwanese, and Vietnamese. The best ethnic food was the only research I did before going to Boston. I drank tanks of cider after discovering the Downeast variety. This stuff is incredible. They make it right in Boston too!

Yet the house has flourished under the direction of a short list of famed designers, the most recent, Belgian-born designer Raf Simons. His primary months at the design house are the subject of the film “Dior and I,” which chronicles the creation of Simons’ first collection for the haute couture in July 2012. The film, directed by Frederic Tcheng, is opening the Tribeca FIlm Festival on Thursday, April 17 while simultaneously making its world premiere.

In the spirit of films like The Director, the Gucci documentary featuring Frida Giannini and Unzipped which follows Isaac Mizrahi as he preps for his fall 1994 show, “Dior and I” is a warts-and-all show-off. While there are many adoring shots and moments featuring Simons and his new colleagues, there are as many moments showing Simons either losing his temper under the pressure or voicing his criticism. It makes you appreciate what he pulls off that much more. And like the other fashion films, there is a dark horse who emerges as a star. Simons’ long-time “right hand,” Pieter Mulier is charming, funny, the ladies in the atelier love him and he’s the perfect foil to Simons seriousness.

One of the artists in the atelier has been in the workrooms for 40 years, since she was an intern, another, with 22 years experience, considers herself a baby.

Simons wanted to use a a weaving technique called imprimé chaîne, in which the thread is printed before it’s woven, to created prints inspired by American abstract painter Sterling Ruby. There are only four engravers in all of France that do this kind of work.